Reduced to aural bones, Gossip's live show in Liverpool last year still rocks, but in a diminished way. [May 2008, p.100]

Little Boots emerges with a debut album that is disappointingly similar to the sound of 2001 or 2005. [Jul 2009, p.91]

Beautifully done, with great attention to textural detail. [Sep 2012, p.83]

While the veteran singer's heart is in the right place, she sabotages her messages via the spouting of generalisations and the use of abstract language, with typically grating, inelegant results. [Nov 2007, p.110]

An affectionate collection of Walker's songs. [Aug 2012, p.80]

Caught between Genesis and Crowded House, Guillemots end up careening between Melancholy, bombast and bad verse. [May 2011, p.87]

RoadKillOvercoat fattens his usual oblique rhymes into even more demanding, bombastic forms. [Apr 2007, p.93]

A familiar sound predominates: an impressive fanfare for a royal procession that never quite arrives. [Apr 2009, p.78]

Their selections here are a predictable roster of left-field rock dosed with Anglophilia. [Jan 2014, p.78]

With so many other similar vehicles available, there's not much reason to choose this one. [Jan 2016, p.78]

All round it makes for a slightly uncomfortable listen. [Apr 2010, p.90]

There's another side to the jaunty guitars and multi-tracked choruses that sometimes make Tunstall sound like she's singing an orange juice advert.... 'Beauty of Uncertainty' and the closer 'Paper Aeroplane' are stark and moody etudes as far removed from, say, Dido as it's possible to get.

Not unpleasant, but not likely to persuade the previously unpersuaded. [Nov 2017, p.39]

"Wolves Change Rivers" betrays his love for Erik Satie, but "For My Mother" [is] reassuring affection is unquestionably his own. [Jan 2019, p.21]

It's a sincere but over-comfortable trawl-lovers of the man's rockin' fire will be disappointed. [Dec 2009, p. 92]

Rebel heart almost gets the balance right, but at 19 tracks, most in the industrial party-pop style of cheeseball producers Diplo and Avicii, there's simply too much going on. [Apr 2015, p.78]

It's all likable, seldom revelatory. [Feb 2015, p.80]

Certainly enough to impress the judges. [Jan 2008, p.93]

The pervading mood of ennui and desolation begs for some light relief, but the title track speaks volumes for her poise. [Dec 2010, p.104]

The sequel is at least that record's [Just Across The River] equal as he again revisits some of his best known songs. [Dec 2013, p.71]

"The Right Stuff" is carried along by a nifty percussive shuffle and lovely layered brass that make you wish the entire album carried their production imprint. [Apr 2015, p.76]

There's not much room for originality in the tiny space he stakes out between Petty, Chilton and Westerberg, but thanks to Cumming's easy charm and gift for simple , classic hooks, the likes of "Workin' It Out" and "Total Darkness" feel like old friends. [Jul 2015, p.73]

It's much less obstreperous than most of their earlier works. [Jul 2016, p.76]

The second album is a little more groove-oriented than the trio's 2014 debut LA Spark. [Nov 2016, p.40]

A spirited album that runs the gamut from pop to pop-punk to punk. Not everything works. [Jan 2021, p.23]

The Dirty Nil relive those innocent times when callow rock'n'rollers made noise designed to drive grown-ups batshit. [Feb 2021, p.27]

Many of these songs also feel like polite recital pieces, stripped of high drama, so that Wilson often sounds like a shadow of himself. [Dec 2021, p.35]

Their fifh album reveals no radical stylistic shift. [Mar 2010, p.89]